3 Mitteilungen_26 CMJ (Computer Music Journal) 21, #2 (ISSN ): Synthesis and Transformation Shaun Oates & Barry Eaglestone Analytical Methods for Group Additive Synthesis Christophe Hourdin & Gérard Charbonneau & Tarek Moussa A Multidimensional Scaling Analysis of Musical Instrument s Time-Varying Spectra A Sound-Synthesis Technique based on Multidimensional Scaling of Spectra Joseph Paradiso & Neil Gershenfeld Musical Applications of Electric Field Sensing This issue opens with a survey of the life and works of eclectic Cuban composer Juan Blanco. Blanco's long and influential career reaches back to the days before tape music, and in recent years he has composed a number of pieces for computer-generated sound. Next, three articles on sound analysis and synthesis are featured. How to effectively reduce the large amounts of data that are required by additive synthesis is a long-standing question in computer music. Shaun Oates and Barry Eaglestone have attacked this problem by evaluating how well various clustering techniques from the computer science literature perform when applied to the amplitude envelopes of group additive synthesis. They also test two analysis techniques--the phase vocoder and Xavier Serra's stochastic/deterministic analysis--for their effectiveness in generating envelopes that can be optimally grouped. An early study on data reduction for additive synthesis was published in Computer Music Journal (CMJ 5(2):10-19) in 1981 by Gerard Charbonneau, who co-authors two articles in this issue with Christophe Hourdin and Tarek Moussa. These authors have developed an analysis/synthesis technique that retains the Fourier-based approach of additive synthesis, but which adds an intermediary representation between analysis and resynthesis to provide musicians with an intuitive means of manipulating sound. The authors used multidimensional scaling analysis, of the sort that John Grey's pioneering work on musical timbre brought to the computer music community's attention, but unlike Grey they applied the technique to the time-varying spectra themselves, rather than to psychoacoustic judgments of the sounds. The results should be of interest both to timbre researchers and to developers of sound-synthesis techniques. Our final article, by Joseph Paradiso and Neil Gershenfeld of the MIT Media Lab, discusses the technology of electric field sensing as applied to musical performance interfaces. The Theremin was the first and best-known example of such an interface. Together with Joseph Chung, the authors developed the Hypercello that Yo-Yo Ma used in performing music by Tod Machover. They then developed a wireless violin bow, as well as a "Spirit Chair" that the magicians Penn and Teller use to control sounds through body gestures. The authors explain the three primary modes of applying electric field sensing to people and objects (loading, shunting, and transmitting), and they provide an abundance of technical detail for readers interested in designing such devices. The reviews cover two concerts and five recordings. The reviewed CDs feature many well-known names, such as Chadabe, Dodge, Jaffe, Lansky, Rolnick, Strange, and Wishart. A review of the music notation application Sibelius follows, and our regular contributor Joseph Rothstein evaluates three hardware devices. Numerous product announcements complete the issue. Douglas Keislar Associate Editor CMJ Journal of New Music Research, Volume 26, Number 1 (ISSN ); Peter Desain & Henkjan Honig CLOSe to the Edge? Advanced Object-Oriented Techniques in the Representation of Musiacl Knowledge ; CLOS = Common Lisp Object System. Insook Choi A chaotic Oscillator as a Musical Signal Generator in an interactive Performance System Martijn Voorvelt The Enviromental Element in Barry Truax s Compositions. Historie der WSP, Analyse von Sonic Landscape #3, Riverrun, Song of Songs. Bruce Pennycook Live EM: Old Problems. New Solutions {Audio CD, CD-ROM, WWW, MIDI, MAX; Surround Sound, D Audio, Details zweier Workshops: in Pisa (CNUCE-CNR), in Genua (AIMI) Musikforum (Deutscher Musikrat / Vertrieb Schott), Nr. 86 / 1997 (ISSN ); Hermann Danuser & Frank Schneider Zeitgenössische Musik in Deutschland 1950 bis 2000; eine CD-Dokumentation des Deutschen Musikrates. Die Autoren sind auch gleichzeitig Editionsleiter, unterstützt von einem Beirat. Verlegt bei EMI-Electrola. Ziel der etwa 150 CD s mit ausführlichen booklets ist es, die Bereiche der zeitgenössischen Musik der Bundesrepublik, der DDR und des wiedervereinigten Deutschlands in ein einziges Projekt hineinzuführen, ohne dass die staatliche Trennung zum Gliederungsprinzip erhoben würde. Auch angewandte, populäre Musik und Jazz soll eingeschlossen werden.an die Stelle einer chronologisch gegliederten Kompositionsgeschichte soll eine pragmatisch orientierte Darstellung treten (gattungsmäßige Strukturierung, Infragestellung der 3

6 Zeitschriften / Bücher / CD s NEAR - Label (Netherlands Electro-Acoustic Repertoire Centre): Ton Bruynel. Geplant: Werke von Jan Boerman, Dick Raaijmakers O. O. Discs, Inc Oo #32, Walls Ofsound : John Cage (Four 5 ), James Tenney (Saxony ), Joseph Celli (Videosax ), Phill Niblock (Didjiridoos and don'ts) performed by saxophonist/composer Ulrich Krieger. 64:00 minutes. EF.ER.P96, Concorso int. Luigi Russolo: Antonio Gatti (Requiem), Rose Dodd (Transient), Flo Menezes (A viagem ), Manuel Rocha Iturbide (Transiciones de fase), Matthias Schneider-Hollinek (Das Ende der Eulen), Georg Weidinger Musicworks #67, Tim Brady (Guitar): Brady, Daniel Leduc Queen s University Music 9301: David Keane First Festival of NICE in Brussels at Boondael Chapel observed and written down by Ludger Brümmer The first festival of NICE was performed as a Coproduction of / FeBeME-BeFEM with the aid of "Communaute francaise de Belgique", the Austrian Embassy and the Commune of Ixelles. Participating Nations were Ars Sonora/France, DEGEM/Germany, FeBeME-BeFEM/Belgium, GEM/Austria, PEM/Netherlands. The program contained 6 concerts and 6 verbal/musical contributions plus the meeting of the NICE and a round table conference about "Electroacoustic music in copyright societies" moderated by Konrad Boehmer, past president of the CISAC (international confederation of composer and author societies). The concerts contained pieces selected by each participating society of electroacoustic music. Pieces of the following composers were played: Furukawa, Jentzsch, Humpert, Tutschku, Reith, Koenig, Eckert, Chin, Brümmer Sahuleka, Haubrich, Snoei, Kagenaar, Op de Coul, Hijmans, Barret, Tazelaar, Ligeti Larivere, Zanesi, Groult, Verin Anderson, Laet Coppe, Souffriau, Dunkelman, Vande Gorne, Todoroff, Drese Teuscher, Weixler, Klement, Linz Maues, Sollfelner, Ruschkowski, Chuang. The concerts and talks were performed in the well equipped Boondael Chapel with the acousmonium of the FeBeME with around 18 speakers. A special aspect of this acousmonium was the placement of several speakers under the roof of the building above the listeners head so that a more 3 dimensional spatialisation could be performed. The response of the public to the concerts was quite different: some concerts were packed with people some not. But all in all it could be said that the FeBeME and the BeFEM created a wonderful festival with a lot of effort and a final diner. Thanks to Annette Vande Gorne, Elisabeth Anderson, Ingrid Drese, Todor Todoroff and all the helpers who built up the acousmonium and cared on the sound system. Be angry if you were not there, you missed something! Discussion of NICE about Authors rights , am 1. Historical Overview of the authors rights In the 50's only SACEM in France was able to put electroacoustic music (EM) immediately into the scale of orchestra pieces. In Germany it was categorized as a solo piece. "Gesang der Juenglinge" for example would get royalties about 1000 FF if it would be performed in France and about 30 FF if it would be performed in Germany. In the 60's the other countries followed to introduce protection for EM; nordic countries and the Netherlands on a high level and Belgium, Italy, Greece, Portugal on a low level. 6

7 Mitteilungen_26 An international effort was made to change the situation of some of the countries in Warsaw the first international convention for authors rights of electroacoustic music was hold. The end showed a resolution which was not included into the national rules. The resolution was talking about EM and aleatoric music at the same time, showing that a lot of composers had no idea about this topic. SEAM (composers society of authors right) was founded. The problem was that each national society found excuses not to change their state SEAM started an inquiry on authors rights. The results were very negative. From 106 societies only 28 were answering at all. Among the answers: Latin American Countries did not protect EM because they said that it did not exist. One problem showed up very clearly: if EM was protected, which aspect of the music should be used to quantify the amount of royalties? In instrumental music the amount of instruments determine the complexity of the piece and the amount of royalties payed. Such an equivalent was on the way to be found. One solution was to count the number of tracks. Some pop musicians said that they are composing in 24 tracks and should have a high amount of royalties. As this continued the use of computers in the field of EM increased and the problem started over again since the computer represents a different kind of composition tool. 2. Evaluation of the present situation of authors rights France is the country with the highest protection level. The Netherlands have a high level protection as well, comparable to chamber music. Progress was made in Germany: Composers have to distribute scores to a jury which then decides if the piece is complex enough to be upgraded to 2 or 1.5 points instead of 1 point. The upgrading is done by a jury of full members of the GEMA. Full members are people who earn a specific amount of royalties in a specific amount of time. Until now, these upgradings have an effect only for broadcasting a piece in radio stations. The royalties for playing the piece in concerts remains the same: Every EM piece regardless if it contains 8 channels or complex structures is only paid as a solo piece. A special very sophisticated way to monitor the broadcasted pop music exists in the Netherlands. A special computer monitors every piece of music and tries to recognize the composition. Then it monitors the duration the piece is played and memorizes this. In case a piece is not recognizable, short excerpts and the duration are recorded. This machine not only gives precise results for the calculation of music it as well controls the listings given by the radio stations. This computer monitors only pieces and radio stations which are broadcasting pop music. The situation in Scandinavia is good. The complexity of a piece is used as an aspect to find the category of a piece. North America is in that aspect o.k. that EM is accepted but the system to pay the royalties is rather strange. There is a poll which is randomly chosen. That means that a piece may get royalties or may not. To make clear how much at all is paid by this system shows some numbers: For each 100 DM which is paid by European countries to America 1 DM is paid back by the American societies. In Japan tape pieces are not getting any royalties in case of a performance, while broadcasted pieces get a specific amount of money. Pieces with life players are treated differently. The society of authors rights in Austria AKM exists since 100 years and was installed with the help of Johannes Brahms. This association became the official society for authors rights in this country. Another society, the Austromechana, cares only on recorded music. After 1973 EM was included into the rules of AKM. The number of tracks used to compose the piece is determines the amount of royalties the piece gets: 2 track - category 2 points, 3-9 tracks category 7

8 Ludger Brümmer NICE - Meeting Brüssel 2.5 points, and more than 9 tracks category 3 points. This calculation is not used for pop music. The jury decides if a pieces belongs to art music or pop music. The jury consists of some regular members. A regular member is a composer who earns a specific amount of money through the AKM each year. This creates a problem because only those composers who are conservative will earn this specific amount of money and can than be members of the jury cathegorizing the music. The membership in the AKM is exclusive. The situation in Latin America was shortly explained. The Brasilian composer unions are fighting with each other. If pieces are played in Latin America there is a compensation for that in some countries. Brasil for example pays a specific amount of money if a piece is played in a concert. But most of the Latin American societies don't pay money at all to the european societies. In addition to that the degree of corruption and the fact that only a few persons are controlling the field was mentioned. Besides the Latin American countries Russian societies do not pay money to the european societies at all. But both countries receive money royalties from the European societies. The idea was mentioned that the European societies should stop their payments to Latin America and Russia in case there is no money paid for European pieces. In Canada there is not need to include a graphical representation to the music as it is in Germany (GEMA) or Austria (AKM). A discussion about this point showed that this aspect is still controversial. 3. Strategies to change the situation The Level and the structure of protection in each country is, as we saw, very different. There should be a new survey of the differences between the countries. Some countries take a score in account for the judgement about the amount of royalties. On one hand this is ridiculous since it is not a secure way to measure the quality and complexity of a piece. Only a specific type of EM would profit by taking a score in account since several types of music - like music using aspects of improvisation - could not be represented by a score. On the other hand this is at least an effort to accept that EM as an equivalent to chamber music or orchestral works exists. The most important point is to force a minimum level of protection. A short example about the situation in France with the radio station INA and the composers society SACEM was given: Radio France or other stations pay to the composers of pop music which is broadcasted between 7am and 8 pm 100 % and between 8pm and 7am only 10 % while EM compositions are paid 100% regardless at which time it is broadcasted. One reason for this might be that the additional amount of money paid would be so small that it is not causing a problem. The system of the royalties in France is that the Radio stations are paying a lump sum of money to the society of composers. This amount is then shared between the composers. To change the situation it could be possible to negotiate directly between the radio stations to increase the amount of the lump sum. The same system, paying a lump to the societies, is used in Belgium and Germany. But most of the Radio Stations in Europe use this system to pay the royalties. The lump sum is then divided by the pointsystem between the composers. It was mentioned that the radio stations would not be willing to pay higher lump sums. The strategy will be to increase the points inside the system so that the EM will be paid better. Another strategy might be to put pressure onto the Radio stations to increase the amount of EM played. These two lines have to be followed: 1. more EM in the Radio --> Radio stations 2. more money for EM --> Societies of Authors right 4. Proposals for NICE The last inquiry was made with all the societies. Most of them gave answers to protect the 'status quo'. So the composers have to be asked to get better answers. A set of precise questions should be made and sent to individual composers or societies of composers. 8

9 Mitteilungen_26 As result the compilation of the questionnaire should be sent to CISAC and CIAM. The question is now if the CISAC/CIAM has the power to change the situation? In the meeting they can find decisions but the societies don't have to keep to these resolutions. Spotlight has to be put onto such a resolution of CISAC/CIAM to make sure that they are accepted by nation societies of authors rights. 2 steps: 1. Make CISA/CIAM to create a resolution 2. Members have to put force onto national societies. Language of communication will be English 1. Questionaire will be finished in the end of First analysis of answers will be finished in the next years. 2nd NICE meeting , Delegates present: Belgium: FeBeMe, Todor Todoroff France: Ars Sonora, Nicola... Austria: GEM, André Ruschkowski Germany: DEGEM, Ludger Brümmer Netherlands: PEM, Konrad Boehmer 1. www homepage The www homepage of NICE is available at Ludger Brümmer will try to establish as well the Address The homepage already contains several information of the current members and associated groups. Strategies and activities of NICE and related informations are displayed there as well. Every other informations and suggestions are welcome. 2. Unesco membership - There are two types of memberships possible in the UNESCO International Music Councicl (UNESCO-IMC): There is the chance to be an observatory member or an ordinary member. - Question: what privileges will the Unesco membership give to Nice? It is not possible to vote as an observatory member. But usually there is no vote, instead it is tried to get an agreement onto the discussed topics. We currently don't know exactly all about the rights we as NICE would have at the UNESCO-IMC as a full or as a observatory member. - There is already a member with full rights which is the CIME. A problem would occur because it is not possible to accept two members occupying the same purpose and topics. So NICE and CIME at the same time would be impossible or difficult. But there would be no problem with NICE as an observatory member. - CIME made a proposal to the UNESCO-IMC regarding the Rostrum Festival: Currently the selection of the pieces of music is done by the Radio Stations. The proposal of Sten Hansson was that only members of CIME are accepted for the Rostrum. - There are information about the fact that the attitude of the UNESCO-IMC is slowly changing. The problems regarding the attitude and the Rostrum could be discussed in the Vienna Festival between 1-5 of July 1998, because the Rostrum will take place there. It should be indicated to do a meeting with the Rostrum people and NICE to discuss the topic. The Rostrum Festival contains two parts: one cares on classical music the other of contemporary music. 9

10 Ludger Brümmer NICE - Meeting Brüssel - Proposition: 1. There is no reason to compete with CIME since the political purpose of NICE is very different to CIME 2. In Vienna we will discus with the Rostrum. 3. NICE will have an informal meeting with the secretary of UNESCO with a paper of the discussion points which he puts into the discussion of UNESCO-IMC. 4. Konrad Boehmer will write letters to the other societies and ask to join the NICE. The address of the homepage will be included into the letter. They are informed about the NICE activities. - Some countries hesitate with the separation from CIME. FeBeMe: There has not to be a separation. FeBeMe is member of both CIME and NICE. 3. Authors rights See the discussion about this topic in the extra document. Please distribute some questions to a possible questionnaire regarding the situation of authors rights. A formal proposition will be done by Konrad Boehmer and Ludger Brümmer and sent to the members. 4. Finances : $ 174 have to be paid to Nice by the current members. 5. Next meeting will be held from the 1-5 of july 1998 in Vienna.. The proposition is made to meet at the 30th of June so that the Rostrum people can be invited and propositions are done. 6. Other Topics Brasilia wants information about our meeting and activities. The Journal Ars Sonora Review starts a new column of international articles. There is a call for articles which should be placed as well on the homepage of NICE. As well there is the discussion group CEC-Discuss which is a good forum for the discussion of EM related topics. Messages about the Nice meeting should be sent to CEC discuss and other EM publishers. The address of CEC Discuss is: write with the topic "Please include me to cec-discuss" to the following address: or contact Ludger Brümmer Am trat das sog. Multimediagesetz (Informations- und kommunikationsdienstgesetz IuKDG ) in Kraft, um u.a. den Wildwuchs im Internet zu begegnen bzw. die wirtschaftliche Freiheit in den neuen Medien zu sichern. Die Gesetze regeln den Jugend- und Datenschutz sowie den Verbraucherschutz. Die Anbieter sind demnach für die eigenen Inhalte voll bzw. für fremde Inhalte bedingt verantwortlich und können vom Gesetz her verantwortlich gemacht werden. Der Gesetzestext steht unter (Tagesspiegel) Die Genfer UN-Konferenz zum Schutze des geistigen Eigentums (WIPO) hat erstmals den internationalen Schutz von Urheberrechten im Internet geregelt. Rechtswidrig ist künftig nicht mehr das Besuchen einer Webseite, sondern nur das Abspeichern von copyright-geschützten Dokumenten und ihre Verbreitung an Dritte. Gleichzeitig soll der Vertrag die Möglichkeit offenhalten. Musikaufnahmen über das Internet zu vertreiben. Man erwartet, daß 15% des weltweit 40 Milliarden-Dollar-Musik-Umsatzes auf das Internet verlagert werden. (AP) Ab sofort bietet die ISMN-Agentur für Deutschland, Österreich, die Schweiz und Luxemburg ( International Standard Numbering System for Printed Music etc. ) die Möglichkeit, die Internationale Standard Musiknummer einzeln zu erwerben (bisher wurden nur Nummernkontingente an Verlage vergeben); dies dürfte für Eigenverlage interessant werden. Verantwortlich für die Organisation sind die Internationale ISMN- Agentur und die nationalen Agenturen. Damit sind Recherchen erheblich vereinfacht durch Integration in das Verzeichnis lieferbarer Musikalien (VLM). Die ISMN besteht aus vier Elementen: der Konstanten M (für Musik), der Verlagsnummer, der Stücknummer und der Prüfziffer (Korrekturcheck). Einzelheiten siehe ISO- 10

11 Mitteilungen_26 Standard bzw. Leitfaden für die ISMN der deutschen ISMN-Agentur. Die internationale Verwaltung der ISMN liegt in den Händen der Staatsbibliothek zu Berlin. Infos sind zu haben bei der Buchhändlervereinigung, Postf , D Frankfurt. Die ISMN ist ganz allein für gedruckte Musik gedacht (Auskunft der deutschen Agentur); somit für Musikkassetten bzw. Audio-CD s und andere Tonträger nicht anwendbar!! (Dafür ist der ISRC {Internationale Standard Aufnahme-Code} vorgesehen, den die IFPI {international federation of Phonogram and Videogram Producers} in London verwaltet). Numeriert werden können: Partituren, Klavierauszüge, Stimmensätze, Einzelstimmen, Anthologien, Liedertexte (zusammen mit Musikdruck), Liederbücher, Elektronische Veröffentlichungen und andere Medien, die einen integralen Bestandteil einer Musikpublikation bilden (z.b. eine Tonaufnahme als Bestandteil einer Musikpublikation). Nicht numeriert werden können: Bücher über Musik, selbständige Ton- und Videoaufnahmen (einschließlich Aufnahmen als Computer-Medien), Periodika / Schriftenreihen (siehe ISSN). Im November 1996 wurde in Köln der Projektkreis Schule des Hörens gegründet. Ziel: die Kunst des (Zu)Hörens und die Notwendigkeit des Hören-Lernens in das öffentliche Bewußtsein zu bringen. Kontakt: Marienstr. 3; D Köln. Musica Verticale's 20th Anniversary Concert Series. Founded in 1977, Musica Verticale was the first musical institution entirely devoted to the diffusion of electroacoustic music in Italy. Since then Musica Verticale's annual Concert Series has established as a well renowned electroacoustic music event in Europe. In the Concert Series held so far, over 600 works by composers from all over the world have been presented, tracking the development of the ever challenging relationship between music and technology. Musica Verticale is organizing the 20th Anniversary Concert Series, to take place in Rome, in Autumn and Winter The Centre for Electronic Music (CEM) in Amsterdam, is the oldest institute for electronic-and electroacoustic music and research in the Netherlands. Founded in 1957 (on the remains of a psycho-acoustic research laboratory of Philips), the CEM has become a modern, fully equipped recording-studio, where composers, musicians and researchers can work in an informal, non-commercial atmosphere. Recently, we have moved from Arnhem to Amsterdam where we will specialize in so-called Soundscapes. This phenomenon best explained by comparing them to mounting a videoclip out of pieces of previously recorded source-material and reorganising them to form a collage, a newly recreated environment. In this case, the 'landscape' consists of mostely acoustic and/or natural sounds, reorganised by the use of harddiskrecording equipment. In cooperation with De Ijsbreker and the dutch broadcast foundations NPS and VPRO, we've recently organised a workshop called Soundscape Amsterdam, which was concluded with a concert and the release of a CD (SSC-CD-1, available through Staalplaat, Amsterdam) containing works of students from Music Technology in Hilversum, composers as well as amateurs. Due to the succes, a second series of workshops are in preparation. The recently remodeled studio is open to professionals and amateurs alike. Courses in composition are also available for those wishing to increase their knowledge and ability. For the absolute beginner there are introductory courses, covering the basics of electronic sound generation and the history of electronic music. Special events sponsored by, or involving the Centre of Electronic Music include multi-media projects, concerts, festivals and software development. For more information contact the CEM-Studio. Stichting Centrum voor Electronische Muziek / CEM 4 Van Diemenstraat CP Amsterdam tel.:(+31) ; fax.:(+31) Man beachte auch das CEM-Bulletin online! Z.B. eine (in deutscher Sprache) verfasste Besprechung des MANCA- Festivals 96 vom 1. bis in Nizza 11

14 Call for CALL FOR PAPERS : Organised Sound, an International Journal of Music and Technology, Volume 2, Number 3. Issue thematic title: Analysis and Synthesis The Editors of Organised Sound are seeking papers relating to musical/multimedia applications of technology. Articles for submission can fall into four categories: Tutorial articles - focusing upon aspects of either music, technology or techniques that are intended for reference and tutorial purposes; Student papers - short articles highlighting the work of young researchers and composers; Themed articles - related to any aspect of an issue's theme, or general articles about compositional approaches and/or technical matters arising from the application of technology to music. Organised Sound also accepts music-only submissions for publication on its annual CD. We are seeking themed submissions for Vol.2 No.3 relating to any aspect of analysis and/or synthesis. Articles on synthesis or re-synthesis techniques, the analysis of musical works, the synthesis of compositional techniques, sound/acoustic analysis and representation and the results of synthesising different media will be amongst the areas considered for publication. Articles and other material for the editors' consideration should be submitted (Deadline) by 21/9/97. If submitted in hard copy, three copies should be posted to: The Editors, Organised Sound, Department of Music, University of York, Heslington, YORK YO1 5DD submissions should be mailed to: Notes for Contributors can be obtained from the Editors or from the Organised Sound Web site: The Argentinian composer Alejandro Iglesias-Rossi is curating a new radio program called "Fronteras del Silencio" (Borders of Silence), which is broadcasted once a week at the radio of the city of Buenos Aires (Argentina). All kind of contemporary music related to spirituality is welcome (the subtitle of the radio program is "spirituality and contemporary music"). Send DATs, CDs or high quality cassette recordings to: FRONTERAS DEL SILENCIO c/o Alejandro Iglesias-Rossi 14 de Julio 1212 RA-1427 Buenos Aires Alejandro Iglesias-Rossi is one of the most salient composers in the young generations in Argentina. His electroacoustic piece "Angelus" won the first prize in the International Rostrum of Electroacoustic Music in He was member of the jury of the 1992 World Music Days organized by the ISCM. He has been very skillful in producing electroacoustic music combining Asian instruments with live electronics. CALL FOR ARTICLES: Sonic Arts Network, the national UK body promoting electroacoustic music, publishes an annual journal for its members. Articles on any aspect of electroacoustic music in its widest possible context will be considered for publication. For the next issue, which will be published in January 1998, we are particularly looking for articles on Aspects of Performance in Electroacoustic Music. Please send articles (in English), preferably in mac format to: or them to: Deadline for submissions: 15th November Pete Stollery Editor Journal of Electroacoustic Music Northern College Hilton Place Aberdeen AB24 4FA / Scotland UK 14

15 Mitteilungen_26 We have the honor of inviting you to participate in the celebration of the VII Festival Internacional de Musica Electroacustica, which under the name of "Primavera en La Habana," will take place from the 2nd to 7th of March, 1998, in Havana, CUBA. Participation in the festival will have a number of options for those interested in taking part: I. Multimedia shows, for which entries will be open until the II. Concert presentations for: a) Works for electroacoustic music on tape. b) Works for electronic means and acoustic instruments, on tape. c) Live electronic works (en situ) d) Live electronic works with acoustic instruments (en situ) The entry date for these presentations expires All projects should be sent to the Organizing Committee before expiration of entry dates. Instituto Cubano de la Musica Calle 15 esq. a F #452 Vedado La Habana, 10400, CUBA tel (53 7) ; fax (53-7) Juan Blanco 1998 International Computer Music Conference 5 (ICMC98) in the University of Michigan, Ann Arbor. CALL FOR SUBMISSIONS ICMC98 seeks papers, demos, presentations and posters in all aspects of computer music. All paper, poster, demo and presentation proposals should be submitted by to no later than December 1, Notification of papers, posters, demos and presentations acceptance/rejection is May 1, MUSIC AND INSTALLATIONS : ICMC98 is particularly interested in electro-acoustic music that includes some aspect of human real-time performance. For a submission form, please see the ICMC98 WWW site after September 1, 1997 or the ICMC98 Brochure (initially available at ICMC97). Note: Musical scores must be professionally prepared to receive a performance. All music and installations must be POSTMARKED by December 1, Notification of music/installation acceptance/rejection is March 15, Mail to: Contact Information: ICMC98 - Conference Management Services 600 E. Madison, Room G-121 University of Michigan Ann Arbor, MI Telephone: +1 (313) Fax: +1 (313) Mary Simoni Iannis Xenakis-Symposium ; Deadline ; siehe Kalender und Februar siehe auch erste Ankündigung in Mitteilungen_24, S

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